The People's Painter
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THE PEOPLE’S PAINTER 26 May – 25 Sept 2011 | Iziko South African National Gallery 2 TRETCHIKOFF THE PEOPLE’S PAINTER 26 MAY – 25 SEPTEMBER 2011 | IZIKO SOUTH AFRICAN NATIONAL GALLERY 3 accessible to younger generations, and never in any quantity. This exhibition aims to present a representative sampling of his work in its original form and ask new and old audiences to look afresh at the legacy of one of the best-known artists of his day: an artist that MESSAGE Message almost everyone had an opinion about, but who was hardly ever included in texts emanating from the FROM THE from the academy and formal institutions of art, nor represented in museums or MAYOR curator institutional collections. It is not my intention to argue that Tretchikoff was a great artist who It gives me great pleasure to and attended his shows in record This exhibition is the first major African artist, despite the fact that was neglected and marginalized in introduce the official catalogue of numbers. It is very fitting that this survey of the work of Vladimir his Russian birth was frequently his lifetime – rather I have attempted one of our city’s best-known and first retrospective exhibition of his Tretchikoff (1913-2006). The fact alluded to in the press. to present original work in a fresh arguably most neglected artists. work finally takes place in the city he that it takes place in the Iziko context, that of the world we now Vladimir Tretchikoff arrived in Cape called home for almost six decades South African National Gallery In his lifetime he generated an live in, and to a new audience, you Town in 1946 to be reunited with and in which he was a well-known is, I believe, of great significance. enormous quantity of journalism the viewer. I leave the assessment of his wife and daughter who had been and recognisable figure ‘about town’ Tretchikoff only exhibited in an and published criticism (mostly his worth in your hands, as is fitting evacuated here from Singapore. He for the same period of time. institutional gallery once in his hostile) and continues to figure for someone who carries the epithet fell in love with South Africa and lifetime and only once thereafter, in popular culture as well as the ‘the people’s painter’ amongst other, made its people, fauna and flora the I welcome this show and the last year, as part of ‘1910-2010: memories of many people in less flattering ones. dominant subjects of his work from gathering together of so many of From Pierneef to Gugulective’ at this the English-speaking parts of that point. Even his most famous his works, back in the place where institution. During the period of his the British Commonwealth and I hope that whatever you decide about work, the Chinese Girl, portrayed most of them were painted, to be major activity, from the late 1940s to especially South Africa. However, the value or otherwise of the work on a young Capetonian, Monika Pon, seen anew by another generation the mid-1970s he always showed his these memories and many of the display, the exercise of bringing these who attended the opening event of and assuring that his presence work at accessible venues, especially opinions expressed about him works together from four continents Tretchikoff: The People’s Painter. still remains firmly in the City department stores. (good or bad) are, I would argue, has been worthwhile and that, just as of Cape Town. coloured by the (often faded) in his lifetime, he will generate debate Much has been made of the Tretchikoff arrived in Cape Town prints of his work that are still and discussion. Whether one loves fact that ‘the arts establishment’ Alderman Patricia de Lille in 1946 to join his family who had to be seen in homes and antique or loathes Tretchikoff, I think it’s still and Tretchikoff were frequently Executive Mayor of Cape Town been evacuated here during the shops in large numbers. His hard to ignore him. at loggerheads, but one thing is Second World War and for almost original work, viewed by literally certain: a great many people in this six decades made this city his home, hundreds of thousands of people Andrew Lamprecht city and the world loved his work always insisting that he was a South from the 1950s-70s, has rarely been Curator 4 TRETCHIKOFF THE PEOPLE’S PAINTER critics, curators and dealers who happen to be in power, for whatever reasons, in turn regulate who joins their circle of power. The showing of Tretchikoff: The People’s Painter is an opportunity for the public and for the art world’s powermongers to revisit the question of how value is established and ascribed as art is MESSAGE circulated in different public arenas. It is also an opportunity for us all to consider precisely who “the people” FROM of the exhibition’s title in fact were, or are. Are they our parents and grandparents? Could they be us? Iziko Do they belong to a particular racial or economic group? The numbers of visitors to the exhibition from The presentation of Vladimir reproductions of his works at far and wide, of different races, Tretchikoff ’s first ever museum relatively affordable prices, ensured classes, genders and ages, of different retrospective, Tretchikoff: The that he was known, and loved, aesthetic predilections, suggest that People’s Painter, at the Iziko South across sectors of South African perhaps Tretchikoff’s art in fact has African National Gallery in 2011 society between the 1950s and the a wider appeal than the press and invites a re-evaluation of several 1970s. Tretchikoff ’s proliferation the art establishment has, or still is, processes and values often taken of his own work in this way was willing to acknowledge. for granted in the art world. The a response to his general critical first, and most obvious, perhaps, rejection, but also to his exclusion In staging this exhibition ISANG is the question of aesthetic quality, from art galleries and museums in is not endorsing a particular view and a related matter, the artist’s his time. Shortly after his arrival in of Tretchikoff, or reifying his prowess. The press has, for decades, South Africa in 1948 Irma Stern, skill or importance as an artist in preyed on an apparent lack of both supported by other prominent local South Africa. Instead, Tretchikoff: in Tretchikoff ’s paintings. There artists, wrote a letter to several The People’s Painter constitutes is no more appropriate turn of galleries calling for Tretchikoff ’s an step in the museum’s ongoing phrase to express that Tretchikoff exclusion from their schedules. journey of self-rediscovery, as we was “trashed” by the critics, and strive to be an institution that is as their ire was certainly fuelled by The success of Stern’s gesture reflects aware of its own role in historical his achievement of local renown a tendency that is persistently at exclusions, particularly in South in spite of this. His indefatigable play in the art world, both locally Africa’s apartheid years, as it is of its pursuit of commercial success, and internationally, even if less mandate to reflect the present. through showing his work at overtly than in the days of Stern department stores and selling and her colleagues. Those artists, Iziko Museums 6 TRETCHIKOFF THE PEOPLE’S PAINTER 26 MAY – 25 SEPTEMBER 2011 | IZIKO SOUTH AFRICAN NATIONAL GALLERY 7 01. 02. 03. 04. 13. 14. 15. 16. Proteas Red Hot Pokers Poinsettias in a Vase Proteas Chrysanthemums in the Sky Yellow Cannas Poinsettias in a Window Magnolias in Chinese Vase Undated 1950 Undated Undated 1950 1949 Undated Undated Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection 05. 06. 07. 08. 17. 18. 19. 20. Yellow Daffodils Chrysanthemums Next to a Vase Three Yellow Daisies Hydrangeas Proteas in Chinese Vase The Atom Prisoner of War Beggar with Golden Frame 1949 1951 Undated Undated Undated Undated [ca. 1950] [before 1946] Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on Canvas Oil on canvas Oil on canvas Oil on canvas Private Collection Private Collection Collection of Jeannette de Vigier Private Collection Private Collection Private Collection Private Collection Private Collection 09. 10. 11. 12. 21. 22. 23. 24. Pink Magnolias in Black Vase Chrysanthemums Dahlias, with Artist’s Reflection Red Lilies Artist’s Palette Self Portrait Body and Soul Barbara in the Bath 1959 Undated Undated 1948 Undated 1962 1948 Undated Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Oil on canvas Private Collection Private Collection Private Collection Private Collection Private Collection Private Collection Collection of Jeannette de Vigier Private Collection 8 TRETCHIKOFF THE PEOPLE’S PAINTER 26 MAY – 25 SEPTEMBER 2011 | IZIKO SOUTH AFRICAN NATIONAL GALLERY 9 25. 26. 27. 28. Though shalt not covet thy 29. 30. 31. Springtime Beatnik Girl Woman with Dove Ten Commandments neighbour’s goods Daily Needs Chinese Girl Malay Boy Undated Undated Undated Thou shalt have no other Undated 1952 1949 Oil on canvas Oil on canvas Oil on canvas gods before me Oil on canvas Oil on canvas Oil on canvas Private Collection Private Collection Private Collection [1977] Private Collection Private Collection Private Collection Oil on Canvas (10 panels) Sponsored by the Chinese Embassy, Private Collection South Africa Thou shalt not make unto thee Take not the name of the Lord Remember that thou keep holy Honour thy father and mother 32.